论《诗大序》与郑玄之风雅正变说

The Theory of Feng Ya Zheng Bian of The Great Foreword of The Book of Songs and Zheng Xuan

风雅正变说作为《诗经》学史上的一个基本问题,自《诗大序》论及变风变雅后,东汉郑玄加以继承发挥,提出风雅正经的概念,并把风雅的正、变与周朝的盛衰世次相对应起来,使风雅正变有了明确的界定标准而自成一套系统。《诗大序》与郑玄的风雅正变说对《诗经》的划分具有系统性,其盛世多颂美之作,衰世多怨刺之作的理论能更好的发挥《诗经》政治教化作用,因而引起后世学者的重视。然而毛郑之说有一定的缺陷,《诗大序》对于周王朝时代盛衰及正变与诗篇内容美刺的模糊表达,容易引起误解;郑玄对于盛衰时代划分的缺陷,也容易引起后世学者的疑虑与批驳。

According to the content and the creation mentality of the poet, the creation of Bai Juyi＇ s dancing poems could be divided into four stages. In the early career of Bai Juyi, he has written many allegorical dancing poems on the basis of traditional Confucian views of music and dance. When he was relegated to Jiang Zhou, the poet realized the dangerous of the officialdom, therefore turned his attention to the entertainment function of music and dance. During his service as the prefectural governor of Hangzhou and Suzhou, the creation on the dance appreciation. Finally, when he lived in Luo Yang, his dancing poems integrated insight of the musical aesthetics, thus exhibited more artistic quality and aesthetic value. of Bai Juyi was focused the sighs of life into the